K A Y Dodhiya (HINDUSTAN TIMES; May 6, 2020)

Mumbai : The Bombay high court on Monday directed Eros International to pay outstanding dues to Bhansali Productions of ₹19.3 lakh for the film Goliyon Ki Raasleela Ram-leela but refused to restrain two foreign companies from exploiting the rights of the film after a merger was announced between Eros and two foreign companies.

Bhansali Productions and Eros International Media Limited had co-produced and released the movie in 2013 and there was an understanding between the two with regards to rights of the film. However, after one of the foreign companies started using the poster of the movie to highlight the merger, Bhansali Productions invoked the arbitration and conciliation clauses which restrained Eros International from selling, exploiting, licensing, distributing and renewing rights over the film. Bhansali also sought ₹19.39 lakh dues to be paid by Eros.

A single bench of justice B P Colabawalla while hearing the petition filed by Bhansali Productions through video conferencing on Monday was informed by senior counsel Zal Andhyarujina and advocates Nausher Kohli, Parag Khandhar and Nachiket Yagnik that Eros International limited was likely to merge with its parent company Eros International PLC and Hollywood’s STX Filmworks by June 30.

Advocates Akshay Patil and Vikrant Zunjarrao representing Eros International opposed the plea and said that there was no urgency to grant interim reliefs to Bhansali productions as Eros was to bound to pay the dues.

After hearing the submissions, justice Colabawalla said that as the respondent companies were situated in the British Isles and California, it would require a detailed hearing to decide on whether reliefs can be granted against entities lying beyond the court’s jurisdiction. He further said that as the court was hearing only extremely urgent matters there was no case for ad-interim reliefs. The court, however, directed Eros International to pay dues of ₹19,39,241 to Bhansali Production related to co-production arrangement in three weeks.

For Deepika Padukone, what’s great about a festival like Holi, is that it brings together people, families and communities; says the main idea of festivals for her is to ‘spend quality time’ with her loved ones
Prashant Singh (HINDUSTAN TIMES; March 9, 2020)

She grew up in Bengaluru, Karnataka, where — as she puts it — the Holi fervour isn’t as much as in other parts of the country. But that never stopped Deepika Padukone from adding her share of colours to the festival along with her friends and family. Even now, she seems visibly delighted about “spending quality time” with her near-and-dear ones on such special days. “The mythology part of our festivals is obvious but what’s amazing is that festivals — be it Holi, Diwali or Ganesh Chaturthi — bring together people, families and communities. Also, I really appreciate the fact that these festivals have been going on for generations, and we still continue that tradition,” she says. Excerpts from an exclusive interview:

To start with, would you call yourself a Holi person?
The culture in south India has been slightly different. So, I remember while I was growing up, it wasn’t celebrated as much as it’s celebrated in other parts of India, especially the North. In the South, it [the celebrations] was never that much but I don’t know if things have changed now. In other parts of the country, even walking on the streets can be dangerous on Holi as anyone can randomly throw colours and eggs at you (smiles).

For you, what’s the most fascinating thing about the festival of colours?
It is the festival of colour but for me, in a way, it’s also a festival of light as my memory of it has been that it’s a ‘day time festival’. So, in my mind, the Holi day is always very bright and sunny along with a lot of colour, joy and cheer. That’s what I really appreciate a lot about the Indian culture that every few months, there’s a festival which sort of brings the entire community together, irrespective of what’s going on in the world. In that particular moment, you just forget about everything else and celebrate.

Do you have any special memories of Holi from your childhood?
For starters, it calls for great family time. One of the things we all always got [on Holi] was a public holiday. So, there was no school, and since I grew up in an apartment [in Bengaluru], I had a lot of friends. I remember all of us getting together to play Holi. Since I am someone who has always been particular about being ‘clean’, I had to be prepared much in advance that, ‘Holi aa rahi hai, so I’ve to keep aside an old set of clothes etc’. At that time, there were no organic colours; so it was all about hard colours which didn’t come off for weeks.

So, you would have unstinted fun?
Yes, but since I was in school, I would also be worried as to how much Holi I can play as schools had their strict rules. In that moment though, you don’t think about those things. But I remember my parents telling me to apply a lot of oil on my face, hair and skin so that colours don’t get into the skin a lot, and could come off easily later. And there was no way we could roam around after playing Holi, as we were supposed to head straight into the shower so as to not mess up the house.

Now, that you are married [to actor Ranveer Singh], have things changed vis-à-vis Holi celebrations in particular, or festivals in general?
Not really! We both have always celebrated festivals. So, as much as possible, we try and be in the city, with family. We did the same even before marriage. So, nothing has changed as such, apart from the fact that earlier, the main celebration would take place in my house. Now, we [Ranveer and I] do a small pooja in our house and then we go to our in-laws’ home where everyone is together. So, it’s a bigger celebration. If our respective parents can be together [on that day], then that’s the best thing. Otherwise, my in-laws are here so a part of the family is always around (smiles). We don’t do anything very elaborate. For us, the main idea of festivals or holidays is to spend quality time together.

What’s your idea of Holi? Has it changed over the years?
For me, Holi stands for a celebration of happiness, togetherness, and good food (smiles). And it’s great that such festivals are a really intrinsic as well as rich part of our culture. I feel that’s the beauty of our Indian culture and tradition. When we [actors] are [shooting] outdoors and miss out on celebrating a festival with the family, we, of course, try and celebrate in our own way with the unit but from the inside, you miss being in your city and with your family.

For you, what’s the best thing about the festival of colours?
I think it’s the feeling of sheer abandon. The other Indian festivals are more ritualistic, whereas Holi, according to me, is one festival where there’s a lot of abandon. And that’s what sets it apart from all the other festivals.

Is there anything that you don’t like much about it?
Eggs, I feel, is a bit too much (smiles). And I’ve an interesting story about eggs, my mum and Holi. She will be very upset that I have revealed the story but I have to (laughs). This is from before I had moved to Mumbai, and I was just about starting my modelling career. I had come to the city for a day with mum for an audition for a soap brand. After I finished my audition in the morning, we decided to go to meet my granddad, who lives at Peddar Road. From suburbs, we took a taxi and once we reached, mum said, ‘since it is Holi, let’s not take a chance. Let’s not get down [across the road from the building] and walk on foot to cross the road. Instead, we can take a U-turn’.

Then, what happened?
I was like, ‘mum, it doesn’t make any sense. The roads are empty, and so we can cross it walking’. And while we were crossing the road, a group of boys threw eggs at us, which hit my mum. Later, she said, ‘I think they were trying to aim at you but eggs hit me instead’. Since that day, my favourite Holi memory is that (laughs). We didn’t even have a spare set of clothes as it was just a day trip. The whole day, she smelt of eggs as it went into her hair also. I think she will never forgive me for that. But I guess it’s all in the spirit of Holi. I do not see people letting go of so much during any other festival.

Do you have any special plan for this year’s Holi?
It’s the same; nothing special. Ranveer [Singh; husband] called me up a couple of days back in the evening, and the first thing he asked me was if I am working [on the Holi day]. Sometimes, it’s [working on Holi] really unavoidable. But as much as possible, we try and be with each other on festivals. Since no one else works on that day, it’s a great day to spend time with one another. Also, I’ll leave for my outdoors [for director Shakun Batra’s yet-untitled next] soon, for about a month or month-and-a-half, to Sri Lanka. So, Holi gives me an opportunity to spend quality time with my family before I go.

Work-wise, how are things looking?
I am starting Shakun’s [Batra] film next. In fact, I will leave for its Sri Lanka schedule next week itself. That’s why I am looking forward to Holi a little more because it’s that day when I will get to spend some time with everyone before all the hectic travelling, shooting etc. starts. My other film, The Intern adaptation, in all likelihood, will go into production in the beginning of 2021, around January. However, I am looking at doing something else too, in the second half of this year.
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A colourful, reel stint with Holi!

“It started with Balam Pichkari (from Yeh Jawaani Hai Deewani; 2013) and, of course, there’s also Lahoo Mooh Lag Gaya (from Goliyon Ki Raasleela Ram-Leela; 2013). If I may say, Balam Pichkari is like Rang Barse (Silsila; 1981) of our generation. Nowadays, every Holi party starts with Rang Barse, and the second song has to be Balam Pichkari. So, it’s become a new-age Holi anthem. It feels nice to have been part of such an iconic song. On the other hand, Lahoo Mooh Lag Gaya is a very different kind of Holi song — very Sanjay Leela Bhansali-ish and extremely sensual. For me, the fascination was that though we see Holi in it with a full-on celebration, his interpretation and the way he showed Holi was in stark contrast to the way we know the festival, or the way we play it.”

Glad to finally feature in a film that doesn't involve the death of her or hubby Ranveer Singh's characters, Deepika Padukone traces working on Kabir Khan's 83
Shaheen Parkar (MID-DAY; March 1, 2020)

In Homi Adajania's comic caper Finding Fanny (2014), which starred Deepika Padukone, Ranveer Singh had made a special appearance. Now, it's her turn to do the same. She features in a cameo in his upcoming film, 83. "I have about five to six scenes," says Padukone, who plays Romi, wife of cricketer Kapil Dev, in Kabir Khan's film based on India's 1983 cricket World Cup victory.

After Padmaavat (2018), Bajirao Mastani (2015) and Goliyon Ki Raasleela Ram-Leela (2013), Padukone is glad that she is teaming up with Singh for a movie with a different subject. "All these three films were costume dramas and emotionally heavy. Also, we ended up dying at the end of all!" So, she's glad to be alive in this one. "In that sense, it was relatively emotionally lighter," says Padukone.

Singh had to put in a lot of prep, including learning how to get his cricket on point. "I just went with the flow," says Padukone, who shot for her scenes during the UK schedule last year. She adds, "The way we approach our characters are distinct. Our processes are different. It was also novel as we have not done something like this before."

Though on the set they may prefer to dive into the characters in their own ways, off-screen they influence each other greatly. "His personality has rubbed off on me, and mine, on him. I have learnt a lot from him, and he, from me."

Deepika Padukone on her foray into filmmaking, fielding for a film with Hrithik Roshan and why she wants to do a young film with Ranveer Singh
Ankita Chaurasia (MUMBAI MIRROR; December 27, 2019)

After playing central turns in two period films, Deepika Padukone is returning to the contemporary realm of the big screen with her first home production, the Meghna Gulzar-directed Chhapaak. Point out that the director has previously said that the film is an attempt to fuel discourse on acid attacks, a topic that’s rarely a part of public consciousness, and she says, “It is a story of hope which has been told in an entertaining manner. We crib about everything, often forgetting to be grate things. Despite what has thrown their way Laxmi (Agarwal, the inspiration behind Deepika’s Malti in the film) and other acid attack survivors, who could have given up on their lives, lead a spirited existence.”

It wasn’t an easy portrayal for her, Deepika says, adding that it took a toll on her despite extensive physical and emotional prep. “I had to live out the reality of the attack and witness what it felt like to have your life altered so drastically. I had to go through it without having to go through it,” she points out, adding that the story follows the character’s journey from bitterness to acceptance and finally, forgiveness.

The actress goes on to relay Laxmi’s thoughts on her attacker now. “She says, ‘He probably thought he could end my life, kill my dreams and aspirations by disfiguring my face. But nobody can take away my mind. I wonder how he feels now that Deepika Padukone is doing a film on me. He wanted to end my life with the acid attack, but my life began then’.” When asked if she was cautioned about the intense nature of the film, the actress explains that counsellors don’t anticipate problems. “But as soon as I felt I was spiralling, I called mine. She was with me throughout the shoot.”

In the film, Alok (played by Vikrant Massey) is constantly by Malti’s side. Deepika asserts that it is men like him, Ranveer (Singh, actor-husband) and Govind (Sandhu, Meghna’s husband) who make her believe that good men exist. “Because they are confident about themselves, they are confident about their spouses. They don’t mind their women being at the forefront,” she reasons, going on to share that she recently called up Ranveer to thank him. “I’d had a long day, but I didn’t feel anxious about whether he would be upset about me coming home late or because I hadn’t called. I have been in relationships where I didn’t have that. When you don’t have to worry about such things, it allows you to focus on work.”

She goes on to reveal that Ranveer also doubles up as her bodyguard. “After watching the Chhapaak trailer, he recalled the time when we were promoting Goliyon Ki Raasleela… Ram Leela in Jaipur and there was a person, dressed exactly like Shah Rukh Khan, who jumped out of the crowd at me. I had forgotten all about it, but he remembered,” she shudders.

The couple will be soon seen in their first film together since their wedding, Kabir Khan’s ’83. “It is our lightest film together yet. On set, you are not husband and wife or girlfriend and boyfriend, you are actors. This film was so different,” she says, noting that after period films, it feels like she and Ranveer are wearing crowns all the time. “It will be good to be just a boy and a girl in a young, fresh film,” she says wistfully.

A film with Hrithik Roshan is also on her wish-list; she famously swooned over the 45-year-old actor in a social media post recently. A recent viewing of Hrithik’s last release War turned into a fan-fest, when, Deepika admits, they would periodically hit pause on the film to marvel, “Kya naachta hai, kya dikhta hai!” “It’s amazing how my husband and I can sit together and appreciate a guy. That video of him (Hrithik) feeding me cake was a wake-up call for filmmakers to cast us together,” she chuckles.

On her foray into production, Deepika informs that producer Dinesh Vijan was the first person to say that she’d make a good producer. “We used to joke that I was his retirement plan and would have a cabin in his newly renovated office. Now he must be having the last laugh,” she smiles. And Karan Johar reiterated it after watching her take interest in expenses during the making of Yeh Jawaani Hai Deewani. “I thought Ayan (Mukerji, director) was being indulgent. How does it matter where Bunny (Ranbir Kapoor’s protagonist) is globetrotting? He could be in Africa, Goa or even Juhu beach. Why are extensive recces required? Karan was like, ‘I don’t have a problem spending so much money, why do you care?’ He was taunting me when he said I’ll make a good producer,” she laughs.

Next up, she is producing a version of the Mahabharata from Draupadi’s point of view. When asked if it will be a love story or in the mythological space, she says, “It can be anything. It is not so much about the female perspective as it is about a different perspective. We can only think of that when a director comes on board.” And has she found her superheroine yet? “I am wearing red today, should I just fly away now?” she wonders, adding, “The character has to be homegrown. A huge advantage we have over the West is that our characters have depth, cultural influence; they are layered, nuanced, rooted.”

She was on a break after the 2018 release, Padmaavat, and insists that it was important to creatively nurture herself. “We get into the rut of churning one film after the other. Over the last year, I have only spent time with writers and directors and books.”

Then, there was the wedding in November last year. “Setting up a home, learning to live with each other and becoming a part of the family everything is important. When I moved from Bangalore to Mumbai, I had no friends and my work became my life. But it helped me realise that you have to get used to living with yourself.”

Natasha Coutinho (MUMBAI MIRROR; February 8, 2018)

Writer-duo Siddharth-Garima, who penned the Ranveer Singh and Deepika Padukone-starrer Goliyon Ki Raasleela Ram-leela (2013) and last year’s Akshay Kumar-Bhumi Pednekar film Toilet: Ek Prem Katha, now have a social-drama up their sleeve. Titled Saale Aashiq, the film revolves around a Khap Panchayat and a couple on the run.

The film is set to go on the floors by the year-end and the writer duo is currently on a recce in Madhya Pradesh’s Jabalpur for research, meeting real-life couples who are hiding from panchayats, as part of the prep for their film. The script for the Bunty Walia and Ajay Kapoor production is currently being worked on. A source reveals, “Saale Aashiq is about standing up to the hate politics, age-old traditions and an eventual death threat as a couple faces opposition from their respective families. The director of the film will be announced soon.”

Meanwhile, Siddharth and Garima are also prepping to make their directorial debut with Jasmine, which they have also written, that is expected to go on the floors around March-April. The film is the story of a surrogate mother who gets attached to a child and doesn’t want to let go.

Meena Iyer (DNA; February 1, 2018)

As you alight from a taxi in a quiet Juhu bylane, your eyes darting left to right to spot where Sanjay Leela Bhansali’s office could possibly be, a police jeep comes into your vision. And you know immediately that behind the intimidating brown gates is where the man is “imprisoned.’’

When the gate slams shut, a name and reference check is done. And then, a dozen safari suit-clad men with walkie-talkies point you in the right direction. Finally, you are seated opposite SLB, who is dressed in his signature kurta-pyjama. His mop of grey hair and dark-rimmed glasses lend style to his carefully-built persona. He is celebrating the runaway success of his magnum opus with chocolate. Urging you to dig in, he indicates that he is ready to talk. And so, we ask:

Padmaavat continues to go through a lot of strife…
Yes, but Padmaavat is blessed. There are creative angels who come and bless such films. There is some divine energy that says this is the way it should be. It is fascinating to go with the flow. If you are supposed to face the attacks or these kind of protests that we have gone through, it’s a part of the film’s destiny. All I can say is that it just makes you stronger and wants you to make the movie better. When your whole being is at stake and you feel that you are going to perish, you give the thing on hand your best shot. Then things unfold in a way. So, from January 27, 2017, when we were attacked in Jaipur to January 25 this year when the film released, it has been one whole year of strife. I cannot describe all that my team and I went through.

Why didn’t you speak earlier?
A lot of people said that I didn’t answer or defend myself. I didn’t come out in the open to speak or react. But my only reaction was to make the film better. If it hit the screen, which it seemed would be almost impossible at one point, that itself would have been a victory. At the cost of repeating myself, I must say that movies like Padmaavat are destined. How can the same set of people (actor, technicians) who have worked on this film and go to another film, are not able to achieve the same kind of results that this movie has? There is some divine energy. When a film reaches a theatre, that is the happiest journey for me because there is no greater joy than that final lap from the laboratory to the screen. That is what you live for. When the first frame is beamed on the screen, it is the most fascinating and satisfying moment for me even after all these years and so many films. It is a moment to die for.

Do you agree that you have achieved a cult status in Bollywood?
I don’t know who says what. All I know is that there’s a madness that is growing within me. I constantly strive to say something bigger and better. There is a time when you evolve. You feel that you have understood your craft, signature and style of filmmaking. You know you are more adept at doing things and find that rhythm slowly over the years. That’s what I think has happened to me. I found scale during my Hum Dil De Chuke Sanam and Devdas days. But the journey between Goliyon Ki Raasleela Ram-leela and Padmaavat taught me so many other aspects. It is very difficult to make a big-scale film. What people call, ‘the big-screen experience’, is hard to achieve.

All that I loved about music, drama; all that I have learnt from Raj Kapoor, K Asif or Kamal Amrohi, V Shantaram and Mehboob Khan, I started finding and putting it together. I have also deeply admired Ramesh Sippy (of Sholay fame). I’m constantly imbibing the energies of these great men with vision and talking to them. So, I’m discovering far more than the basic box-office collection.

You said Ram Leela was a learning curve...
I started finding the rhythm of the shot for the first time during Ram Leela. I made sure the sur and the scale didn’t go wrong. I found some joy in making Padmaavat irrespective of the problems that I encountered.

Is it right to say that you have been obsessed with your ideas long before your films went on floors?
I took 12 years to make Bajirao Mastani. I waited nine years to make Ram Leela and I had to wait eight years from the time I did Padmavati, the opera on stage, in Paris to get to the film. I’ve enjoyed making these movies so much. They were very challenging. How to put things into a big frame and how to spend money are things that I’m obsessing about all the time. You know budgets become available to you but how you spend that money in the correct way is important. And I really don’t care whether the films brought in the numbers at the box office or not. I never work with that fear.

One never hears of you taking a holiday...
People say why don’t you go on a holiday and I tell them I only want to go to the studio. I want to go to Film City and Mehboob Studios and sit over there. So often, when I’m crossing Bandra, I make it a point to drive into the Mehboob Studio compound, sit there and just stare. That is the kind of love that I have for cinema.

That’s why you have been labelled eccentric…
(Laughs) They can call me what they want. If I’m happy and I enjoy taking that detour into the studio compound and saluting the memory of Mehboob Khan, then let me be. Perhaps the energies of Mehboob saab will get into me and his soul will bless me. Who knows? I like doing that, so I do it. I go to V Shantaram’s Rajkamal Studio in Parel for my mixing. And when I stroll in that place, I can feel his energy and soul. His trophies... the smell in that re-recording studio which has been exactly the same over the years. I had gone there first when I was remixing for Parinda (1989) because I was an assistant with Vidhu Vinod Chopra.

It does matter right that Padmaavat will cross the 150 crore mark today?
It’s so nice to know that the audience wants to see your work. A film without an audience makes no sense. When they say, ‘We now understand your signature and style of filmmaking, so we come to see your film,’ it’s a great high. Whether it has Ranveer (Singh) and Deepika (Padukone which is an added attraction), they come to see my film. I personally thank god for this blessing because even if I’ve been cursed with all these innumerous problems — over the years which I have fought — inner demons and external problems — I’ve also been blessed by God because he has said, ‘Ok fine, you get a style and signature, you have an audience, you do not need anything more.’ Who puts in Rs 180 crore to make a film? It is easier said than done. I would say I’m more blessed than I’m cursed. Even though Padmaavat has gone through so many problems, today it is getting its due.

You have done three films with Aishwarya (Rai Bachchan) and three with Deepika. Is it time to look for a new muse?
Deepika is so fabulous; she is such a jaan. I just love her. All her hard work and brilliance that she brings to the set is effortless. She does her preparation but there is none of the—I AM PREPARED FOR A ROLE—heaviness around her. It is done with so much silence. It’s such a pleasure to work with someone who does what she is doing at that moment with absolute honesty. She’s an actor who feels so honestly and simply, but her performances are detailed and nuanced. I’m not done with her yet.

What about Ranveer Singh who seems to be your favourite?
No other filmmaker understands Ranveer the way I do. Ranveer and I have a great chemistry and understanding. I know how to direct him and I’m aware about his limitations and strengths. I know what to do with him. He’s a very special actor. He has so much energy. I only feel he puts too much effort into ‘I did my research and I went here and did that’, all that I understand. For him to pursue his greatness, he has to be a little more effortless. He is fantastic. I am not done with him either.

Shahid was the new energy on your set?
Shahid was a new energy on set because I hadn’t worked with him before. It was interesting to see how a new actor works. He is a great-looking kid. He is extremely talented and so effortless. He is constantly wanting to become better. He would say, ‘I’m unhappy with that shot. Can I do this better?’ And I would tell him, ‘Can you stop pushing yourself. And punishing yourself because I know what I want from you.’ It was great working with him. He gave Maharawal Ratan Singh such dignity and silence. It was a nuanced and delicate performance. I’m so proud of what he has done in this film. Ranveer obviously had the author-backed role and he has come out with flying colours in it because of the range, but to play a straight and understated part, yet to make your presence felt is very difficult. Deepika and Shahid look so good together. I wish they do more films with each other.

Aren’t you being too harsh on yourself by completely isolating yourself from the world?
I’m in a zone. I’ve not met anyone. I only live for my films. I do not feel I’m too harsh on myself. I’m enjoying it immensely. Once I start a film, I’m like that person who is sitting in a yagna completely consumed by the puja and the process. I’m in that meditative state where I see nothing, but my film. Even if I’ve been physically attacked or my set has been ransacked, my first reaction is, ‘Oh god, that shot, which we had set up, was so beautiful! Where will I take it?’ The humiliation and the anger of what I went through became secondary in so many ways. My film mattered to me. I saw a film called Sant Tukaram so many years ago. When Tukaram was asked anything, he would say ‘Vithal, Vithal.’ And you would wonder what he meant. Today, I understand what it means because for me it is only films. I have become Tukaram.

Doesn’t all work and no play make you dull?
The emotions that I may deprive myself of in terms of relationships don’t matter. I live my life through my films. It is such a joy. Nothing distracts me. I just want to make bigger and better films. I’m constantly asking myself, ‘How do I evolve further?’ I’ve done a lot of introspection to reach this stage. If a film worked, I’ve never got up and said, ‘Wow, my movie worked. Bro, let us have a party.’ For me, it is how do I get better. How do I get one more star from a reviewer? How do I become a better person and a better filmmaker? Which is why you are finding a slow growth in my films from Ram Leela to Padmaavat. The search for excellence doesn’t die. It is getting more and more pronounced. And I’m living it completely.

MUMBAI MIRROR (December 19, 2017)

Renuka Shahane says her favourite female don will always be Dhankor Baa, played by Supriya Pathak in Sanjay Leela Bhansali’s Goliyon Ki Raasleela Ram-Leela. The actress goes down the same road, playing a Maharashtrian don in the TV show Khichdi, who kidnaps the lead character, Hansa, interestingly played by Supriya. “To share screen space with her has been an absolute honour. Also, Hansa is my favourite character from the show and my role is closely linked to hers. It couldn't get better than this,” Renuka exults. Talking about her experience of working on the show, Renuka says, “I had a blast shooting for the show because I have been a fan of Khichdi since I can remember. The makers have been good friends and when they approached me, I instantly said ‘yes’ to the role of a female don which is something I have never done before."

Roshmila Bhattacharya (MUMBAI MIRROR; November 18, 2017)

This year has been more eventful for Deepika Padukone than many would have envisioned. She completed a decade in Hindi films — her debut, Om Shanti Om, released in 2007 — and made inroads into Hollywood with a Vin Diesel franchise. Now, she is gearing up for a hat-trick with one of her favourite filmmakers, Sanjay Leela Bhansali, with the upcoming Padmavati, in which she has the titular role. The year in review with the actress:

Leela, Mastani and now Padmavati... How similar and how different are these three women?
The trio is similar in their spirit and courage, their vulnerability and belief. At the same time they are also very different. Leela had a childlike, playful innocence while Mastani was a warrior who literally took to the battlefield. Now, Padmavati is a warrior in her own right without weapons. Her power comes from her intelligence and her bravery, from the way she stood for what she believed in and the way she protected her people.

As an actress how difficult was it to bring these three women to life?
It was very easy actually, because as a woman I identified with all of these characters and so will every other woman. When talking about Leela and Mastani I would say this as well. Even though Mastani and Padmavati may have lived in different eras, their traits are easy to relate to even today. I have that resilience in me, of never giving up.

Yes, you've completed a decade in the Hindi film industry and it's not an easy place. Ten years is a long tenure for any actress to remain on top, did you ever imagine this would be your home for so long?
Yes, I did. I was welcomed with open arms from the day my first film, Om Shanti Om, came out, maybe even before that. The film's director, Farah Khan, had no idea what I could deliver since I had no film experience, yet to cast me in a film so important to her and her career at that point showed the kind of faith she had in me at a time when I had no faith in myself. And that attitude I see even today from my fraternity who always made me feel very comfortable.

Getting back to your upcoming film, each poster is a story in itself and one in particular, of a fiery maharani surrounded by women in red, encapsulates everything we believe Padmavati stood for as we know from what we've read of her growing up...
That's a powerful moment in the film and it haunts me even today. The energy with which the women come together, the fire within, is almost spiritual. It's one of the most memorable moments of my career to date.

The debates around the film and its portrayal of the queen are getting more ludicrous by the day with detractors now demanding your head or wanting to cut off your nose. How do you react to all this?
Well, at this point, as a woman, an artiste and a citizen of this country I feel angry, I feel let down and I also find it amusing.

It's telling that you didn't say that you were scared...
I will never feel scared. Fear is not an emotion I have ever identified with.

With all the controversies that keep cropping up with every other film do you feel that the creative freedom that the filmmakers and artistes have been enjoying in the world's biggest democracy is being curtailed by the pre-release tamasha?
Yes, people are allowed to express themselves without having even seen the film. And having worked in the film, I can assure you it's one film every Indian will be proud of. I'm glad we are showcasing Padmaviti's journey. Her story needs to be told not just to people in this country but across the world.

Growing up what was your impression of Mastani and Padmavati and has it changed since?
Your understanding of a woman, of these women, as a young girl from reading about them in a chapter in a textbook is very different from your understanding of them as a grown-up. The understanding today is much larger.

There have been allegations of you hogging the limelight from your co-actors and jumping into promotions alone and before them...
Well, to be very honest the film is titled Padmavati but my incentive is to tell the story of this woman's courage. We have had a Mother India in the past with a Nargis and a Sunil Dutt, Razia Sultan with Hemaji (Malini) and Dharmendra. I've always chosen films based on my instincts and I'm proud I've been given this opportunity to play a protagonist who people idolise, revere and some people even worship. But for me it's about the woman and everything she stood for, and as an artiste I feel grateful to have played her on screen.

It's been an interesting year for you as you moved from Serena Unger in XXX: Return Of Xander Cage to Padmavati.
They are both brave, strong, independent individuals, in different ways, different eras and different cultures. As a woman I identified with both and made them relatable in that situation. Serena was a different character from Piku, Mastani or Padmavati but their spirit is alike.

The director of XXX, DJ Caruso, has confirmed that you will be in the next instalment of the franchise?
It's too early to say anything at this point.

You just mentioned Piku and you are reuniting with Irrfan Khan again for Honey Trehan's directorial debut which has been scripted by Vishal Bhardwaj. You are moving from one strong woman to another?
Yes, I keep saying I need to do a film that is less draining, emotionally, and challenging but I keep getting drawn to these characters. Yes, this will be my next film, another powerful woman, and at a creative level I'm excited to be collaborating with Irrfan again as I loved every moment with him on the Piku set. He brings out the best in me as an actress.

There's another actor, Ranveer Singh, who also brings out the best in you, even as a person.
Yeah, I think I'm blessed to have some very special people, whether it's my family — my sister — or my friends and the people I work with. I have a solid support system and some really good people in my life.

And Ranveer is one of them?
Absolutely!